From Behind the Camera
Creative Catalyst Newsletter
July 14, 2009
Below are a few tips I’ve not yet worked into an article, but I think they are valuable.
A single spot of color tends to appear foreign and unrelated to the rest of the piece. Spot it in around the painting to integrated it. The color need not be used in the same intensity in all cases. To grab attention, use a color in its full intensity, but then use it elsewhere more neutralized. Just mix it with some of its complement.
Red Orange is the strongest color. It takes less red orange to balance other colors than any other single color. You can test this for yourself by painting a bit of red orange on a piece of paper and then try other colors, one at a time, in various sizes and see what feels balanced. This is fun to do and its informative.
Try not to use accent colors, like pure red orange, near the edge of the painting. It will take a lot of work to get the viewer back into the painting.
It is true that the lightest light next to the darkest dark (value contrast) does create a center of interest. But sometimes an isolated light in a field of dark can look too much like a target to keep the viewer interested. There are more ways to catch the viewer’s attention. Contrasts in the size of shapes (small shapes in a painting of large shapes), edge quality (soft vs hard), and detail (more information per square inch) also attract the eye.
Check to be sure there are not shapes acting as arrows pointing out of the painting. If you find this is the case, the strength of the arrow can be softened by reducing the value contrast between it and it’s surrounding area. You may also choose to soften the edge with a simple intermediate value or simply change the shape to a less directional form.
That’s it!
More later. Happy trails,
Lynn Powers
From Behind the Camera
Creative Catalyst Newsletter
July 14, 2009
We’ve all been told to do at least three small sketches, or thumbnails, before starting a painting. The theory is that we are more likely to consider less obvious solutions by pushing past the easy answers.
Usually the excitement of the moment overcomes my plan to do thumbnails. Recently I’ve included the discipline in my process. It’s part of my over arching goal to thoroughly complete each step of the painting process before moving on to the next step.
Now I’m sold. Thumbnails are fantastic. Basically they are used to analyze design. They provide the opportunity to manipulate and modify a painting before committing to a specific combination of factors. Usually they are used to check value patterns. Color temperature, pose, direction of line and shape can also be checked and manipulated. They are the best place to discover something is wrong or incomplete. Also, it’s a great place to takes risks, exaggerate, simplify, or eliminate.
I don’t hurry through my thumbnails. I permit myself the luxury of thinking time. Then, after I’ve decided which version I want to continue with, I set aside the other options and jump into the drawing and painting. I may not be be completely confident…. but at least I’ve given it my best shot.
Cheers,
Lynn Powers
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